Enfilade

Symposium | Court Ceiling Painting around 1700

Posted in conferences (to attend) by Editor on June 30, 2018

Galeriegebäude Hannover-Herrenhausen, Decke im Frühlingszimmer
© Bildarchiv Foto Marburg/CbDD/C. Stein/ T. Scheidt

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rom H-ArtHist (with a conference flyer available as a PDF file here). . .

Connecting across Europe? Ceiling Painting and Interior Design at the Courts of Europe, ca. 1700
Eine gemeinsame europäische Sprache? Deckenmalerei und Raumkünste an den europäischen Höfen um 1700

Gallery Building, Herrenhausen Gardens (Galerie Herrenhausen), Hanover, 13–15 September 2018

Registration due by 10 August 2018

International Symposium organized by the Corpus of Baroque Ceiling Painting in Germany (CbDD) based at the Ludwig-Maximilians-Universität in Munich (LMU); the German Documentation Centre for Art History – Bildarchiv Foto Marburg (DDK); and the Bavarian Academy of Sciences and Humanities (BAdW)—in cooperation with the City of Hanover, Herrenhausen Gardens; the Institute of History for Art and Musicology – IKM of the Austrian Academy of Sciences (ÖAW); and the Research Group for Baroque Ceiling Painting in Central Europe (BCPCE).

Project directed by Stephan Hoppe (LMU, Munich), Heiko Laß (LMU, Munich), Herbert Karner (ÖAW, Vienna)

The Corpus of Baroque Ceiling Painting in Germany (Corpus der barocken Deckenmalerei in Deutschland) regards painting on walls and ceilings as a medium of pictorial representation. In a courtly context, mural painting would serve the sovereign to define his status within the court society, just as he did otherwise in the fields of architecture or interior design.

Around 1700, a formal and thematic change can be observed in the choice of these media of social distinction, especially at the courts north of the Alps. In the field of mural painting, it is striking in which way the ceiling was no longer divided into multiple fields, but preferably dominated by one single monumental painting. In this way, mural painting was able to define the room. Monumentality resided in scale, and a new form of illusionism became important. The inganno degli occhi, a highly sophisticated form of illusionism prevailed. Mural painting on ceilings gained autonomy, and as a medium, it followed its own logic. Furthermore, walls and ceiling could be integrated into one overarching decorative scheme. This change was not just a matter of form, but also a matter of content: glorifications and personifications were no longer represented in the old-established way and subject to dynastic formulas, but became more and more individualized and tailored for a specific patron.

Moreover, within the larger European context, mural painting should not be misunderstood as exclusively made in fresco or secco technique, or studied in isolation. The decision for oil painting on canvas or on walls or ceilings was for a longer period of time not only a question of quality or of the possibility to hire a specialist, but also a question of aesthetics. A large part of mural painting in Western, Central, and Northern Europe was painted on canvas and was adjusted onto ceilings and walls. Stucco did also play an important role and seems to have been applied especially in rooms of ‘higher rank’.

The symposium will link the described change to political, social, and cultural shifts in Europe around 1700. This artistic change occurred in parallel to a new position of power established by the monarchs, princes, and their states. The sovereigns were striving for an acknowledgment of their newly achieved status. Numerous territories and new princes within the Holy Roman Empire wanted to position their new rights of sovereignty, just as the kingdoms of England and Sweden or the court of the House of Orange in the Netherlands and, later, in England. Religious denomination played a marginal role in painting as opposed to politics. Despite their basically anti-Catholic orientation, motifs once established to mark protestant ideals, vanish, and patterns, before decidedly perceived as catholic, could be taken over generally. In this way, new forms of a supranational and trans-confessional culture of the courts and higher nobility developed in large parts of Europe.

Apparently, the rise of new dynasties and powers was responsible for the developments described above. The rise of the house of Bourbon and the house of Savoy and the descent of the Spanish Habsburgs in parallel are the most striking examples. An independent trend was the decline of artistic influence from the Netherlands in Northern Europe, giving way to a new influx of aesthetic ideas from France and Italy. This change turned out to be a cultural adjustment process that became apparent in almost all over Europe. Italy and France set the standard, and the Habsburgs did not succeed in gaining artistic dominance.

In addition to general overviews, the symposium will discuss examples from Austria, the Czech Republic, Denmark, England, France, Germany, Italy, the Netherlands, Poland, Spain, and Sweden. In this way, an attempt will be made to highlight connections and comparisons across Europe for the first time. The focus is exclusively on sovereigns and their courts. Sovereigns are understood as the monarchs and princes of Europe and the rulers over imperially immediate territories of the Holy Roman Empire. The States General of the Netherlands and the Republic of Venice were also sovereigns.

Numerous artists were active around 1700 and will be considered during the symposium. These include Jacques Foucquet, Luca Giordano, Daniel Marot, Sebastiano Ricci, Giuseppe Roli, Jerzy Eleuter Szymonowicz-Siemiginowski, Carpoforo Tencalla, Matthäus Terwesten, and Antonio Verrio. The aspect of cultural transfer and the import of artists initiated by clerical and secular clients will also be of interest. Mural painting is intended to be embedded into the development of the spatial arts in general.

The symposium will take place at the so-called Galeriegebäude in Hannover-Herrenhausen. This festive building of the Electors of Hannover is an outstanding example for the change in court culture around 1700. It was erected 1694/98 in the course of a rise in status of the patron and decorated with mural paintings by Tommaso Giusti.

The CbDD has reserved a room contingent for the conference participants until 31 July 2018, because two fairs and an additional conference are going to take place during our symposium. You can use this website for your booking.

The conference languages are German and English. Please keep in mind that it is not common practice in Germany to pay by credit card; take cash with you. The symposium fee is 20€ and will be paid in cash at the venue before the beginning of the symposium. Coffee/Tea and the visit to the Great Garden are included.

Please register until 10/08/2018 at
Corpus der barocken Deckenmalerei in Deutschland
Dr. Heiko Laß
Institut für Kunstgeschichte
Ludwig-Maximilians-Universität München
Zentnerstr. 31
D-80798 München
heiko.lass@kunstgeschichte.uni-muenchen.de

Symposium participants have the opportunity to purchase up to two tickets of the reduced price of 10€ each for the International Fireworks Competition, which will take place in the Great Garten at the night of 15 September, the final day of the symposium. The tickets must be reserved with the registration and paid in cash together with the conference fee.

T H U R S D A Y ,  1 3  S E P T E M B E R  2 0 1 8

14:00  Opening of the Galeriegebäude

15:00  Introduction and Welcome

15:30  Session 1
• Steffi Roettgen (Munich), Götterhimmel und Theatrum sacrum – zur Erfolgsgeschichte der Deckenmalerei im barocken Italien
• Thomas Wilke (Stuttgart), Französisch – die gemeinsame europäische Sprache!? – Innendekoration und Deckenmalerei am französischen Hof um 1700

16:45  Coffee/Tea

17:15  Session 2
• Ulrike Seeger (Stuttgart), „weil es dauerhaffter ist und lufftiger aussiehet“. Die gänzlich freskierte Zimmerdecke um 1700 – Modus oder Medium?
• Heiko Laß (Munich), Das Galeriegebäude in Herrenhausen, die Stellung des Hannoverschen Hofs um 1700 und seine Wand- und Deckenmalerei

19:30  Dinner

F R I D A Y ,  1 4  S E P T E M B E R  2 0 1 8

8:00  Opening of the Galeriegebäude

9:00  Session 3
• Sara Fuentes (Madrid), The Works of Luca Giordano to the Service of Charles II around 1700
• Herbert Karner (Vienna), Austria vor Jupiter: Deckenbildnerei in Schloss Schönbrunn um 1700

10:15  Coffee/Tea

10:45  Session 4
• Werner Telesko (Vienna), Thematische Multiperspektivität. Die Grazer Katharinenkirche und das Haus Habsburg um 1700
• Martin Mádl (Prague), The Palace of Prince Bishop Carl II of Lichtenstein-Castelcorn in Olomouc and its Decoration
• Andrzej Kozieł (Wrocław), A Jesuit Academy as a Symbol of Habsburgian Power: The Building of the University of Wrocław and its Fresco Decoration

12:40  Lunch

14:00  Session 5
• Ute Engel (Munich), Deckenmalerei und ‘Schönbornscher Reichsstil’? Lothar Franz von Schönborn als Auftraggeber in Bamberg, Mainz und Pommersfelden
• Konrad Pyzel (Warsaw-Wilanów), King Jan III Sobieski’s Wilanów Residence: Universal Patterns, Universal Stories — Unique Iconographical Message?

15:15  Coffee/Tea

15:45  Session 6
• Doris Gerstl (Erlangen/Regensburg), Aristokratie versus Monarchie? Zu Klöcker von Ehrenstrahls Deckenbild im Stockholmer Riddarhuset
• Martin Olin (Stockholm), War and Peace: Jacques Foucquet’s Paintings in the State Apartment of the Royal Palace in Stockholm

17:00  Coffee/Tea

17:20  Session 7
• Thomas Lyngby (Hillerød), The Audience Chamber of Frederiksborg Palace

S A T U R D A Y ,  1 5  S E P T E M B E R  2 0 1 8

8:30  Opening of the Galeriegebäude

9:00  Session 8
• Margriet van Eikema Hommes (Delft), The Oranjezaal in Huis ten Bosch
• Alexander Dencher (Leiden), Daniel Marot as a Designer of Wall and Ceiling-Painting in the Age of William and Mary

10:15  Coffee/Tea

10:45  Session 9
• Lydia Hamlett (Cambridge), Mural Cycles of the Later Stuart Courts: Continental Influences and British Reception
• Christina Strunck (Erlangen), Flammende Liebe, höfische Intrigen und internationale Politik. Antonio Verrios Ausmalung des Queen’s Audience Chamber in Windsor Castle

13:00  Lunch

14:00  Session 10
• Elisabeth Wünsche-Werdehausen (Munich), Genealogie versus Mythologie: Die Galleria di Daniele im Palazzo Reale und die Tradition savoyischer Raumausstattung in Turin
• Martina Frank (Venice), Neue Decken für neue Räume. Der Wandel im venezianischen Palast- und Villenbau

15:15  Heiko Laß (Munich), Summary and final comments

18:00  Opportunity to visit the International Fireworks Competition in the Great Garden

Symposium | China in Austria

Posted in conferences (to attend) by Editor on June 18, 2018

From H-ArtHist:

China in Austria: Reception and Adaptation of East Asian Art in Central Europe
Department of Art History, University of Vienna, 29 June 2018

The workshop China in Austria aims to discuss the reception of and engagement with East Asian art in Central Europe. The workshop is part of a long-term project conducted by staff and students of Asian Art History at the Department of Art History at the University of Vienna. The project aims to evaluate the role of East Asian art in the material culture and society of Austria and its environs. This event is organised through the support of the Faculty of Historical and Cultural Studies of the University of Vienna. Free admission with registration (required). Please contact alexandra.wedekind@univie.ac.at.

P R O G R A M M E

9:00  Registration

9:15  Morning Session
• Lukas Nickel (Institut für Kunstgeschichte, Universität Wien), China in Austria
• Stacey Pierson (School of Oriental and African Studies, London), Chinoiserie or Imitation? Du Paquier, Porcelain, and Responses to China through Design in Early 18th-Century Vienna
• Johannes Wieninger (Museum für Angewandte Kunst Wien), Use, Decoration, and Inspiration: East-Asian Porcelain and the Vienna Porcelain Manufactory
• Elfriede Iby (Schloss Schönbrunn, Wien), The East Asian Cabinets of Schönbrunn Palace and the Problem of Missing Records and Sources

12:45  Lunch break

14:30  Afternoon Session
• Lucie Olivová (Masarykova Univerzita, Brno), Chinese Cabinets with Czech-Made Murals
• Greg M. Thomas (Hong Kong University), The Queen’s Décor: Chinoiserie Lacquer from Vienna to Fontainebleau
• Bernhard Fuehrer (School of Oriental and African Studies, London), Glimpses into Chinese Literature and Language Studies in Austria: August Pfizmaier (1808–1887) and Leopold Woitsch (1868–1939) in Light of the Holdings of the National Library
• Alexandra Wedekind (Institut für Kunstgeschichte, Universität Wien), The Gotha-Vienna-Connection of 1869: Albums Presented by the Tenno to European Rulers

18:00  Discussion led by Lothar Ledderose (Universität Heidelberg)

Symposium | L’art de l’Ancien Régime: Sortir du rang

Posted in conferences (to attend) by Editor on June 12, 2018

From the conference programme:

L’art de l’Ancien Régime: Sortir du rang / Die Kunst des Ancien Régime: Jenseits des Kanons
Deutsches Forum für Kunstgeschichte Paris / Centre allemand d’histoire de l‘art, Paris, 14–15 June 2018

L’histoire des productions artistiques de l’Ancien Régime s’est principalement focalisée sur les grands acteurs, les « beaux-arts », les institutions les mieux documentées, Paris, d’autres capitales et les cours, pour lesquels nous disposons désormais de solides connaissances. En revanche, les artistes, œuvres, techniques et foyers qui échappent aux grands courants historiographiques restent peu étudiés, ou ont été traités sous forme d’études de cas isolées. À cette histoire de l’art « par le haut » commence à se substituer une histoire plus attentive aux acteurs secondaires, aux médiateurs, aux effets et aux modes de circulation des personnes, des objets et des savoirs. Celle-ci nous place face à d’importants défis méthodologiques, nous invitant à appréhender de nouveaux thèmes, à renouveler les approches.

Ce colloque vise à décentrer le regard sur les phénomènes artistiques de l’Ancien Régime afin de mieux saisir la complexité de la culture visuelle et matérielle de l’époque. L’attention sera portée sur les circulations artistiques et la mobilité des objets et des acteurs selon une perspective européenne et globale. À l’échelle de la France, il s’agira d’interroger la diversité des pratiques artistiques sur l’ensemble du territoire et les interactions entre « centre » et « périphérie ». La construction des savoirs artistiques sera abordée selon la dynamique des transferts entre savoirs pratiques, techniques et scientifiques. Il s’agira également d’étudier la participation du fait artistique au fait social, et de réviser les hiérarchies établies par l’historiographie concernant les acteurs des mondes de l’art. Revisiter l’histoire de l’art de l’Ancien Régime nécessite enfin une approche critique des objets : les arts « décoratifs » et les genres « mineurs » seront à examiner en rapport avec les discours théoriques, l’évolution du marché ainsi que les pratiques de collection et d’aménagement domestique comme urbain, afin de privilégier une lecture qui souligne l’importance de l’expérience vécue et des propriétés matérielles des œuvres dans les différents contextes de production et de réception.

Conception
Matthieu Creson, Pascale Cugy, Sarah Grandin, Ulrike Keuper, Thomas Kirchner, Déborah Laks, Camilla Pietrabissa, Sophie Raux, Marlen Schneider, Caroline Soppelsa, Maël Tauziède-Espariat, Sarah Ubassy-Catala, Hadrien Volle

J E U D I ,  1 4  J U I N  2 0 1 8

9.00  Accueil des intervenants

9.30  Introduction, Thomas Kirchner (DFK Paris) et Sophie Raux (Université Lumière Lyon 2 – LARHRA)

10.00  1.  Relocaliser l’ « Ancien Régime »
• Sarah Catala et Matthieu Creson, Introduction et modération
• Anne Lafont (EHESS, Paris), Quelle histoire de l’art africain sous l’Ancien Régime? Sources, méthodes, perspectives
• Hendrik Ziegler (Philipps-Universität Marburg), Exposer les armes de l’autre: quelques réflexions sur la présentation d’objets turcs dans les collections européennes à l’époque moderne
• Anne Perrin Khelissa et Émilie Roffidal (Laboratoire FRAMESPA UMR 5136, Université Toulouse – Jean Jaurès), Réseaux des académies d’art provinciales et dynamiques des circulations au XVIIIe siècle

12.45  Pause déjeuner

14.00  2. Dépasser les hiérarchies
• Caroline Soppelsa, Hadrien Volle, Introduction et modération
• Valérie Nègre (Université Paris 1 Panthéon-Sorbonne), Architectes et entrepreneurs: se défaire des catégories ?
• Charlotte Guichard (CNRS / ENS, Paris), L’art et la marchandise: Signer le tableau dans le Paris des Lumières
• Carl Magnusson (The Getty Research Institute / Université de Lausanne), Entre centre et périphérie: les discours sur la décoration dans la France du XVIIIe siècle

17.30  Visite dans le quartier Richelieu, Isabella di Lenardo (École Polytechnique Fédérale de Lausanne)

V E N D R E D I ,  1 5  J U I N  2 0 1 8

9.30  3. (Dé)construire l’ordre social
• Ulrike Keuper, Camilla Pietrabissa, Maël Tauziède-Espariat, Introduction et modération
• Fanny Cosandey (EHESS, Paris), Reproduire et déplacer: La répétition cérémonielle, entre fixation des places et dynamiques sociales
• Melissa Hyde (University of Florida), In Recovery: Some Forgotten Women of the Académie and Beyond
• Mechthild Fend (University College London), Marguerite Le Comte’s Smile: Portrait of an Amatrice

12.15  Pause déjeuner

13.30  4. Appréhender l’objet
• Pascale Cugy et Sarah Grandin, Introduction et modération
• Peter Fuhring (Fondation Custodia, Paris), L’aiguière en jaspe sanguin du XIVe siècle et sa monture en or du XVIIIe siècle de la collection du musée Gulbenkian: l’appréciation des matériaux, du travail de l’orfèvre et du « dessein »
• David Pullins (The Frick Collection, New York), A Boucher Room: Time, Authorship, and Medium
• Katie Scott (The Courtauld Institute, London), Objects of Learning: Oppenord’s Ripa and Saint Aubin’s Pernety

16.45  Sophie Raux et boursiers du sujet annuel, Conclusion du colloque

Cocktail de clôture

Symposium | Water in Historic Gardens

Posted in conferences (to attend) by Editor on June 12, 2018

From H-ArtHist:

Water in Historic Gardens as an Aesthetic Category and Natural Resource
Berlin-Brandenburg Academy of Sciences and Humanities, 19 June 2018

Registration due by 13 June 2018

In historic gardens and parks, water is both an essential aesthetic category and an indispensable natural resource. Water appears in a wide range of forms: outstretched lakes, bubbling fountains, or gentle ponds. Exploring a garden from its waterways optimally complements a stroll through the grounds—something visitors still love to do up to the present day.

Historic gardens—traditionally created as a Gesamtkunstwerk, embracing ­architecture, architectural staffages, and monuments within a natural setting—are highly ­dependent on the supply of water for very different types of vegetation. Consequently, the increasing number of drought events in the growing season and extreme summer heat as well as rapidly sinking groundwater tables may seriously affect the vitality of plants and trees. Likewise, raising groundwater can also be a major threat by impeding trees to grow roots into the deeper soil, hence, losing anchorage and thus becoming more susceptible to windthrow during storms.

This international symposium provides an opportunity to discuss such impacts and possible solutions to safeguard our historic parks and gardens with experts from Eastern Europe, with special focus on their relevance and applicability to the region of Berlin-Brandenburg.

Registration is available here»

P R O G R A M M E

2.00 Christoph Markschies (Vice-President of the Academy, HU Berlin), Introduction

2.15  Session 1
• Alexandra Veselova (Russian Academy of Sciences, St. Petersburg), The Water System of the 18th-Century Garden in Bogoroditsk (Tula region)
• Andrej Reyman (St. Petersburg), Water Fantasy in the Neva Delta: A Variety of Water Devices in the Gardens of St. Petersburg, 18th–20th Centuries

4.00  Coffee break

4.25  Session 2
• M. Norton Wise (University of California, Los Angeles), On the Social Aesthetics of Water and Steam in the Landscape Gardens of 19th-Century Berlin
• Vela Portugalskaya (The State Russian Museum, St. Petersburg), Hydrosystem of the Gardens of the Russian Museum in St. Petersburg: Its Transformation and Impact
• Boris Sokolov (Russian State University for the Humanities, Moscow), Aesthetics and Sustainability in the Russian Water Parks, from the Baroque to 21st Century

7:00  Closing Discussion
Chair: Christoph Markschies (Vice-President of the Academy, HU Berlin)

Symposium | Ideals and Nations: Reception of Winckelmann’s Aesthetics

Posted in conferences (to attend) by Editor on June 10, 2018

From Christ Church (with a PDF file of the program available here). . .

Ideals and Nations: New Perspectives on the European Reception of Winckelmann’s Aesthetics
Sir Michael Dummet Lecture Theatre, Christ Church College, University of Oxford, 29 June 2018

Organized by Fiona Gatty and Lucy Russell

To commemorate the Winckelmann anniversaries 2017/2018, Christ Church Library is preparing an exhibition and series of events in collaboration with the Faculty of Medieval and Modern Languages, University of Oxford and the Ure Museum of Greek Archaeology, University of Reading. Winckelmann and Curiosity in the 18th-Century Gentleman’s Library explores the scholar’s varied influence on the arts in Britain, through printed media, architecture, and decorative arts. The exhibition will be launched with a symposium on Ideals and Nations: New Perspectives on the European Reception of Winckelmann’s Aesthetics.

Registration information is available here»

Anton von Maron, Portrait of Johann Joachim Winckelmann, 1768, oil on canvas, 136 × 99 cm (Weimar: Stadtschloss).

P R O G R A M M E

9.30  Registration

10.15  Welcome from Martyn Percy (The Dean of Christ Church), Fiona Gatty (Oxford), and Lucy Russell (Oxford)

10.30  Session 1: Keynote Lecture
• Alex Potts (Michigan), Winckelmann: Historicity and Multiple Temporalities in the Art of Antiquity

11.15  Coffee and Biscuits

11.45  Session 2: France and Italy
• Fiona Gatty (Oxford), Clothing the Ideal: Winckelmann and the Costume Dictionaries of Late 18th-Century France
• Lucy Russell (Oxford), The Winckelmann Dilemma: Italy’s Nationalistic Response, 1755–1834

13.00  Lunch

14.30  Session 3: Germany and England
• TBC, From Winckelmania to the Wehrmacht: Receptions of Winckelmann in the German-Speaking World
• Helen Slaney (Roehampton), Winckelmann in English Travel Writing

15.45  Tea and Biscuits

16.15   Session 4: Keynote Lecture
• Elisabeth Décultot (Halle), History of Art and Ethnology: Winckelmann’s Panorama of the Ancient Peoples and Its Reception in the 18th Century

17.30  Drinks reception to launch the Ure Museum (University of Reading)/Christ Church Library collaborative exhibition Winckelmann in Italy: Curiosity and Connoisseurship in the 18th-Century Gentleman’s Study

19.30  Conference Dinner

Conference | Frenemies in British Art, 1769–2018

Posted in conferences (to attend) by Editor on June 9, 2018

From EventBrite:

Frenemies: Friendship, Enmity, and Rivalry in British Art, 1769–2018
The Royal Academy of Arts, Lecture Theatre, London, 19–20 July 2018

Organized by Georgina Cole, Mark Hallett, Mark Ledbury, and Sarah Victoria Turner

Joshua Reynolds, Colonel Acland and Lord Sydney: The Archers, 1769, oil paint on canvas, 236 × 180 cm (London: Collection of Tate, T12033).

From the earliest histories of art, the friendships and rivalries of artists have been the subject of anecdote and gossip. For that reason they have been associated with the popular storylines of art, rather than with the scholarly discourse of art history. However, the wide-ranging re-evaluation of affect and emotion that is taking place in the humanities, and the increasing recognition of a synchronic, network model of understanding rather than a diachronic, emulative one in art history, have served to suggest that artistic friendships and rivalries are key agents in the production and reception of works of art. This methodological shift has helped art historians perceive the significance of interpersonal relationships to art-making. It has drawn attention to the sociability of artists, and to the entwining of their personal and professional networks. Meanwhile, across other disciplines, the impact of friendship, personal networks and communities of rivalry upon cultural production have been the subject of important studies. Furthermore, the idea of productive or inhibiting enmities (a more awkward but still profoundly important category of affective relationship) is also becoming a fruitful avenue of exploration.

The long history of British art furnishes many examples of complex and productive friendships and bitter, crushing rivalries. The Royal Academy, from its foundation to today, is one major locus of such complex affective networks, as has been its annual summer exhibition. In conjunction with the exhibition The Great Spectacle: 250 years of the Summer Exhibition, to be held at the Royal Academy between June and August of 2018, and curated by the Paul Mellon Centre’s Mark Hallett and Sarah Victoria Turner, this conference seeks to explore the impact of friendships and enmities on subject matter and artistic method, as well as on the formation of artistic careers and on the reception of works of art. We aim to re-evaluate elevate these relationships, shifting them from the peripheral status of cultural gossip to central aspects of making and meaning.

The symposium is funded by the Paul Mellon Centre for British Art and convened by Georgina Cole (The National Art School, Sydney), Mark Hallett, Mark Ledbury (The Power Institute, University of Sydney) and Sarah Victoria Turner.

T H U R S D A Y ,  1 9  J U L Y  2 0 1 8

11.00  Registration and coffee

11.30  Welcome and Introduction

11.45  Session 1: Antagonism in the Academy, Part I
Chair: Georgina Cole (The National Art School, Sydney)
• Martin Postle ‘Alas, Poor Sir Joshua!’: James Barry and the Gentle Art of Making Frenemies
• Esther Chadwick, Mortimer’s Reynolds: Imitation and Independence in the Fifteen Etchings (1778)

12.45  Lunch break

14.15  Session 2: Antagonism in the Academy, Part II
Chair: Mark Ledbury (The Power Institute, University of Sydney)
• Wendy Bellion, Formal Old Fools? Joseph Wilton Sculpts William Pitt
• Zoë Dostal, Alliances, Grievances, and Failed Ambitions in Henry Singleton’s Royal Academicians

15.15  Break

15.30  Session 3: Victorian Networkers
Chair: Sarah Victoria Turner (Paul Mellon Centre)
• Pamela Fletcher, A Victorian Networker: The Case of Augustus Egg
• Robert Wilkes, ‘My quondam friend’: Frederic George Stephens, William Holman Hunt, and the Pre-Raphaelitism Controversy

16.30  Tea break

17.00  Final Panel with Mark Hallett (Paul Mellon Centre) and Georgina Cole

F R I D A Y ,  2 0  J U L Y  2 0 1 8

8.30  Private view of The Great Spectacle: 250 Years of the Summer Exhibition

10.00  Coffee break

10.30  Session 5: Friendship and Difference
Chair: Sarah Victoria Turner
• David Cottington, Affective Relations and Professionalism: Friendship and the Artistic Avant-garde in London and Paris, c. 1888–1915
• Eleanor Jones, Barbara Ker-Seymer and Edward Burra: Staging and Framing Friendship in Interwar British Art

11.30  Break

11.45  Session 6: Formal Relations
Chair: Mark Ledbury
• Benjamin Harvey, The Society of Frenemies: Roger Fry, Walter Sickert, and the Art of Paul Cézanne
• Helen Ritchie, ‘Upholding the Dignity of Pots’ vs. ‘Flash and Bombastic’: Bernard Leach and William Staite Murray

12.45  Lunch break

14.00  Session 7: Family and Friends
Chair: Mark Hallett
• Hester Westley, The Family We Choose: Informing Friendships in the Art School Studio from the ‘Artist’s’ Lives’ Archive
• Hammad Nasar, Cumbrian Cosmopolitanisms: Li Yuan-chia & Friends
• Amy Tobin, Sibling Rivalry in the Women’s Art Movement

15.30  Tea break

16.00  Wrap-up discussion with Georgina Cole, Mark Ledbury, Sarah Victoria Turner, and Mark Hallett

Journée d’études | L’Ananas, le fruit roi

Posted in conferences (to attend) by Editor on June 4, 2018

Later this month at Versailles: pineapples!

L’Ananas, le fruit roi
Château de Versailles, 22 June 2018

Produit de la consommation globale, l’ananas domestiqué par les Amérindiens, fut découvert par les Européens lors de la conquête Espagnole au XVIe siècle. Importé du Nouveau Monde, notamment du Brésil et des Caraïbes, il fut cultivé sous serres dans les jardins royaux en Europe dès la fin du XVIIe siècle. Portant un même nom, la plante, et son fruit, ont nourri l’imaginaire des arts décoratifs (textile, mobilier et objets d’arts). L’ananas-plante vit au jardin, l’ananas-fruit est goûté à la table, et tous deux sont dotés d’une iconographie variée.

P R O G R A M M E

10.00  Accueil et introduction de la journée

10.30  Yves-Marie Allain (Jardin des plantes de Paris-MNHN), Ananas, le fruit couronné des princes et… des marins

11.00  Gabriela Lamy (Château de Versailles), L’ananas dans les jardins d’Île-de-France au XVIIIe siècle: Objet de curiosité ou production fruitière de luxe

11.30  Élisabeth Caude (Château de Versailles), À Malmaison, le goût de l’impératrice Joséphine pour l’exotisme

12.00  Discussion

12.30  Pause déjeuner

14.00  Kathryn Jones (Royal Collection Trust), The King-Pine: The Pineapple on the English Royal Table (Le fruit roi: L’ananas à la table royale d’Angleterre)

14.30  Matthieu Creson (Centre André Chastel, Paris), L’ananas dans les natures mortes hollandaises au XVIIe siècle

15.00  Noémie Étienne (Université de Berne), Liotard et l’ananas: Faire exotique à Genève avant 1800

15.30  Aziza Gril-Mariotte (Université de Haute-Alsace), Ananas et dérivés, le goût de l’exotisme dans les indiennes au XVIIIe siècle

16.00   Corinne Thépaut-Cabasset (Château de Versailles), L’ananas dans tous ses états

16.30  Discussion

17.00  Clôture de la journée d’étude

Conference | Sir Richard Wallace and His Age

Posted in conferences (to attend) by Editor on May 26, 2018

Alexandre Desgoffe, Works of Art from the Collection of Sir Richard Wallace, 1880
(Staatliche Kunsthalle, Karlsruhe)

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From the registration page:

Sir Richard Wallace and His Age: Connoisseurs, Collectors, and Philanthropists
The Wallace Collection, London, 15–16 November 2018

This year the Wallace Collection is celebrating the two-hundredth anniversary of the birth of Sir Richard Wallace. Taking Sir Richard Wallace and his collection as its starting point, our two-day international conference will look at aspects of collecting and collections in London and Paris in the wake of the upheavals of the Franco-Prussian War and the Commune in 1870–71, considering essentially the period between 1870 and 1900. The first day of the conference will consider the impact on the Anglo-French art market of the political and social upheavals in France in 1870–71, including the dispersal of collections and the movement of collectors, as well as the curatorship of private art collections. The second day will focus on two themes: the subject of the morning session will be loans to exhibitions from distinguished collections and the motivations that drove them; the afternoon will showcase works of art in the Wallace Collection acquired by Sir Richard Wallace.

T H U R S D A Y ,  1 5  N O V E M B E R  2 0 1 8

9.30  Registration and coffee

10.00  Xavier Bray (Director, The Wallace Collection), Welcome and introduction

10.15  Suzanne Higgott (Curator, The Wallace Collection), Setting the scene, or Why Sir Richard Wallace subscribed towards the proposed submarine tunnel between England and France in 1872

10.30  Olivier Hurstel (Curatorial Fellow, European Decorative Arts and Sculpture, Philadelphia Museum of Art), Hertford-Wallace properties in Paris based on the information available in the French archives

10.40  Morning Session
Chair: Adriana Turpin (IESA International)
• Robert Tombs (Fellow of St John’s College, Cambridge), The Rise and Fall of the New Babylon
• Thomas Stammers (Assistant Professor, Department of History, University of Durham), Salvage and speculation: The London art market after the Franco-Prussian War (provisional title)
• Anthony Geraghty (Department of History of Art, University of York), An Imperial Collection in Exile: The Empress Eugénie in Farnborough, 1880–1920
• Mathieu Deldicque (Conservateur du Patrimoine, Musée Condé, Chantilly), ‘Wishing to preserve the complete estate of Chantilly for France’: The duc d’Aumale and the settlement of Chantilly on the Institut de France

12.30  Lunch break

13.45  Afternoon Session
Chair: Alastair Laing (Curator Emeritus of Pictures and Sculpture, The National Trust)
• Suzanne Higgott (Curator, The Wallace Collection), Sir Richard Wallace as the custodian of his collection
• Joseph Friedman (Honorary Visiting Fellow of the Department of History of Art, University of York, and Senior Research Fellow in the History of Art and Architecture, University of Buckingham), ‘Inhabited Museums’: London’s treasure houses in the age of Sir Richard Wallace
• Helen Jones (Research Librarian, Wallace Collection Library), More than mere ornaments: Female visitors to Richard Wallace’s art collection
• Mathieu Deldicque (Conservateur du Patrimoine, Musée Condé, Chantilly), The picture hang devised by Henri d’Orleans, duc d’Aumale, at Chantilly
• Natalie Zimmer (Curatorial Assistant, The Wallace Collection), Captured for eternity: Visual recording of collections in the nineteenth century
• Olivier Hurstel ( Curatorial Fellow, European Decorative Arts and Sculpture, Philadelphia Museum of Art), Edouard Lièvre (1828–1886), From art books editor to designer: On the importance of art books in shaping taste in the nineteenth century (provisional title)
• Silvia Davoli (Research Curator Strawberry Hill, The Horace Walpole Collection), Richard Wallace and the acquisition of the Nieuwerkerke and Both de Tauzia collections: The Parisian network (provisional title)

16.40  Discussion

F R I D A Y ,  1 6  N O V E M B E R  2 0 1 8

9.45  Registration and coffee

10.15  Morning Session
• Lindsay Macnaughton (PhD researcher, Durham University/The Bowes Museum), Displaying philanthropy and patriotism: The Wallaces in focus
• Suzanne Higgott (Curator, The Wallace Collection), Good intentions, mixed motives: Sir Richard Wallace’s loan exhibition at the Bethnal Green Museum, 1872–75
• Kathryn Jones (Senior Curator of Decorative Arts, Royal Collection Trust), ‘Successful designs ought not to be restricted to the palaces’: Victoria, Albert and the exhibitions
• Eloise Donelly (AHRC Collaborative Doctoral Candidate, University of Cambridge and the British Museum), ‘The Expansion of Art’: The English Rothschilds and loan exhibitions, 1850–97
• Suzanne Higgott (Curator, The Wallace Collection), From loans to legacy: The transformation of the Wallace Collection from a private collection into a national museum

12.30  Lunch break

13.45  Afternoon Session
• Helen Jacobsen (Senior Curator, The Wallace Collection), Sir Richard Wallace: Shaping a national collection
• Suzanne Higgott and Tobias Capwell (Curators, The Wallace Collection), Two paintings by Blaise-Alexandre Desgoffe of works of art and arms and armour in Sir Richard Wallace’s collection
• Tobias Capwell (Curator, The Wallace Collection), Armour and the man: Three triumphs of Sir Richard Wallace, collector of arms
• Speaker to be announced, Fragonard’s A Boy as Pierrot
• Ada de Wit (Assistant Curator, The Wallace Collection), Collecting the World: An Asante trophy head and Chinese Imperial wine cups
• Stephen Duffy (formerly Senior Curator, The Wallace Collection), Sir Richard Wallace and contemporary painting
• Jeremy Warren (Honorary Curator of Sculpture, Ashmolean Museum, Oxford and Sculpture Research Curator, The National Trust), Sir Richard Wallace and small bronze sculptures

16.35  Discussion

17.30  Round-table discussion with Xavier Bray (Director, The Wallace Collection), Christian Levett (Private Collector), Olivier Gabet (Director, Musée des Arts décoratifs, Paris), Ian Wardropper (Director, The Frick Collection, New York), and Emilie E.S. Gordenker (Director, Mauritshaus, The Hague)

18.30  Drinks reception in the Porphyry Court at the Wallace Collection

Symposium | Silver in Georgian Ireland

Posted in conferences (to attend) by Editor on May 25, 2018

From the Irish Georgian Society:

Silver in Georgian Ireland
National Museum of Ireland, Dublin, 30 May 2018

Organized by Alison FitzGerald, Emmeline Henderson, and William Laffan

The Irish Georgian Society, Maynooth University, and the National Museum of Ireland are partnering to deliver a symposium on Wednesday, 30th May 2018 focusing on silver in Georgian Ireland. The symposium will showcase new research by established and emerging scholars and examine the circumstances in which silver objects were made, used, valued, and displayed in Georgian Ireland.

The symposium will appeal to both a specialist audience and the general public. It seeks to offer a variety of engaging perspectives on one of Dublin’s foremost artisanal trades during a period when new commodities, novel technologies, and fashionable imports were transforming the market for luxury goods. The programme of talks will be complemented by a tour of the National Museum of Ireland’s silver galleries, an unrivalled display of Irish silver from the period, which will allow both experienced and novice silver scholars the opportunity to consider the artefact evidence at first hand.

2018 marks the 21st anniversary of the opening of the silver galleries at the National Museum of Ireland, Collins Barracks. It thus represents a timely moment to reflect on one of the highlights of the decorative arts collection, which has not been explored before in the context of such a focused study day. The inclusion of speakers from the United Kingdom and Europe allows for a nuanced view of silver in Georgian Ireland, considering how the movement of people, patterns, and plate in the early modern world affected what was crafted and coveted in Irish towns and cities.

Silver in Georgian Ireland has been made possible through sponsorship from an anonymous donor, Ecclesiastical Insurance, Paul Mellon Centre for the Studies in British Art, and Weldon of Dublin. The symposium has been convened by Dr Alison FitzGerald, Lecturer, Maynooth University, who is responsible for providing the academic programming; Emmeline Henderson, IGS Assistant Director and Conservation Manager; and William Laffan, IGS Committee Member. The symposium forms an action of the Irish Georgian Society’s Conservation Education Programme, which is supported by Merrion Property Group and Heather and John Picerne.

P R O G R A M M E

9.30  Registration

10.00  Welcome from Audrey Whitty (Keeper of the Art and Industrial Division, Decorative Arts and History, National Museum of Ireland)

10.10  Session One
Chair: David Fleming (Irish Georgian Society Committee Member and Lecturer, Department of History, University of Limerick)
• Alison FitzGerald (Lecturer, Department of History, Maynooth University), Changed Utterly? Continuity and Change in Dublin’s Silver Trade during the Long Eighteenth Century
• Toby Barnard (Emeritus Fellow in History, University of Oxford), ‘Making the Grand Figure’: The Social Currency of Silverware in Georgian Ireland
• John Bowen (Master Warden, The Company of Goldsmiths of Dublin), Smaller Cities: Irish Provincial Silver in the Georgian Era

11.40  Coffee Break

12.05  Session Two
Chair: Donough Cahill, Irish Georgian Society, Executive Director
• Damian Collins (Postgraduate student, Department of History, Maynooth University), ‘The Metal Stamp’d by Honest Fame’: The Production and Consumption of Gold and Silver Boxes in Georgian Dublin
• Bert De Munck (Department of History, Centre for Urban History, University of Antwerp), Marks of Craftsmanship? An Historical View on the Politics of Branding and Hallmarks

1.20  Lunch and Tour of the NMI silver galleries with Michael Kenny (Former curator in the NMI’s Art and Industrial Division)

2.50  Session Three
Chair: Alison FitzGerald (Lecturer, Department of History, Maynooth University)
• Thomas Sinsteden (Independent Scholar), Plate Inventories as Evidence: The Dukes’ of Ormonde Plate
• Jessica Cunningham (Independent Scholar), ‘Taken or Destroy’d’: The Household Silver of Castlecomer House, 1798
• Zara Power (Independent Scholar), The Magnetism of Fine Gems: Jewellery in Eighteenth-Century Ireland
• Tessa Murdoch (Deputy Keeper, Department of Sculpture, Metalwork, Ceramics and Glass, V&A), Elite Gift Exchange: A Case Study of Emily Lennox’s Christening Bowl

5.00  Closing Remarks by Emmeline Henderson (Irish Georgian Society, Assistant Director and Conservation Manager)

Symposium | (Re-)Forming Sculpture

Posted in conferences (to attend) by Editor on May 18, 2018

Installation view of Lynda Benglis at The Hepworth Wakefield, 6 February – 1 July 2015
Courtesy the artist and Cheim & Read, New York

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From the University of Leeds:

(Re-)Forming Sculpture
University of Leeds and The Hepworth Wakefield, 26–27 June 2018

The Association for Art History’s 2-day Summer Symposium organised by the Doctoral and Early Career Research Network.

Keynote Speakers
• Martina Droth, Deputy Director of Research, Exhibitions, and Publications | Curator of Sculpture, Yale Center for British Art
• Rebecca Wade, Assistant Curator (Sculpture), Leeds Museums and Galleries, based at the Henry Moore Institute

The eighteenth-century offerings come on the second day of the conference:

11.35  Session 4: Sculpting Ceramics
Chair: Caroline McCaffrey-Howarth
• Ashley Hannebrink (Harvard University), Reforming the Past: Figures of Antiquity in Eighteenth-Century French Porcelain
• Elizabeth Saari Browne (Massachusetts Institute of Technology), Modelling Enlightenment: Clodion’s Bacchic Sculpture and the Materialist Pleasures of Touch
• Catherine Roche (University of Westminster), Crafting Sculpture: Embodied Perspectives of Sculptural Ceramics
• Phoebe Cummings (University of Westminster), Fugitive Objects

The full programme is available here»